The devil is a common literary icon. This enemy of God has generally been established as an unflinching representation of evil – a figure designed to deceive and torment his nemesis as well as his readers. From making pacts with mortals to sell their souls to raising armies against the sky, literary depictions of the devil have largely been concerned with religious themes, often ending in a crescendo of defeat of God over evil or of the tragic “fall” of Satan. Mikhail Bulgakov's The Master and Margarita, however, complicates the role and characterization of the Devil, a foreign "magic teacher" visiting Soviet Russia and clearly established as Satan on earth, unleashing his inherent malice on other characters. Say no to plagiarism. . Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay Although the character of Woland played by Bulgokov is the devil in himself, it is the purpose of this villainous role that can give readers a new reading of the text. This article will seek to analyze three major characters in the novel according to Gnostic parameters: Woland, Yeshua and Margarita. In doing so, Woland can be read as a counterpart to God: a representative figure of the dualistic quality of darkness. According to this understanding, Woland is the darkness of the "lightness" character of Yeshua Ha-Notsri. In a Gnostic system defined by oppositions rather than connotations, Woland becomes a tool, much like Yeshua, intended to serve a higher purpose. The ultimate goal of this article will prove that although Woland may be the "devil", a gnostic interpretation of the text will allow readers to move away from the typical horned enemy and towards a role more characterized as a "co- conspirator: "a character who walks the thin line of literary (and gnostic) balance, and even an apologist for the existence of the spiritual realm. To interpret Woland along gnostic lines, it is crucial to identify the gnostic elements generals that prevail in Bulgakov's text Although there are a variety of Gnostic sects, certain key elements remain common to all of them, once identified, readers can clearly see this ideology at work in The Master. and Marguerite According to Dr. Denova's article, "Gnostic Cosmology", "the most important characteristic of Gnostic thought is the radical dualism which governs the relationship with God and the word, and therefore, man and the world” (Denova 1). Woland himself is the messenger of this Gnostic theme of dualism in the novel, describing the necessity of "good" and "evil" as mere poles and antipoles, stating: "What would your good do if there were not no harm, and what would he do? what would the earth look like if its shadows disappeared? After all, shadows are cast by objects and people. There is a shadow of my sword. But there are also shadows of trees and living creatures. Would you like to strip the earth of all trees and living things in order to satisfy your fantasy of rejoicing in naked light? You are a fool” (Bulgakov ¬¬ “The fate of the Master and Margarita is decided”). As Woland himself says, one cannot know the light without first recognizing the shadows; these two dualistic forces are cooperative and co-dependent. Because of this inherent dualism, there is a clear separation between the physical and spiritual worlds: the spiritual is seen as a realm of light and the physical as a realm of darkness. Furthermore, the Gnostic universe strives to focus on separationdistinct from man from God himself. This “transmundane” God is physically and figuratively hidden from those in the physical world, completely unknowable by natural concepts; it cannot be discovered without “revelation.” According to the Gnostic view, man is composed of a body, a soul and a spirit. The body is therefore part of the physical world. But it is important to note that the soul of man is said to contain the pneuma (spirit), also called the divine spark. This spark, a piece of the divine realm "fallen" and trapped in the physical realm, comes to play a role major in Bulgakov's novel. With the idea that the common goal of Gnosticism is to “release” this spark where it belongs. Denova describes this spark as a latent spiritual element present in all men. However, this divine spark can only be awakened and released through knowledge (gnosis). One who attains this knowledge of the divine which is present within himself is said to be "saved" and, in doing so, releases his divine "inner self" into the realm of light, from which he had originally fallen. This bizarre process is easier said than done. Remembering that man is ignorant until he experiences a revelation, there must of course be a pivot in this process. Enter: Woland and Yeshua. Even a vague glimpse of this Gnostic cosmology illuminates the allegory of Woland [the devil; darkness] and Yeshua [the bringer of light; Jesus Christ] as images of Gnostic intermediaries for these opposing realms, with Woland being the main agent of the "dirty work" on earth. So while Woland exploits unenlightened people in the physical realm, Yeshua does the opposite in the Master's novel: he brings the spiritual and the knowledge that goes with it to the physical world. Bulgakov's character of Yeshua corresponds to the exact description of what the Gnostic savior is: "He is a messenger from the world of light who penetrates the barriers... awakens the spirit from its earthly sleep and transmits to it saving knowledge ‘from the outside’” ( Dénova 2). Moreover, according to this definition, the character of Woland is not simply the devil on earth, but the symbol of a humanity that exists “from the outside”. According to AC Wright's article, "Satan in Moscow: An Approach to the Master." and Margarita", "Woland considers darkness to be the other side of light, to which he is not opposed: there is nothing to indicate that he wants to thwart God's designs or even bring about the damnation of man" ( Wright 1163). This argument that Woland is not actually a "damnable devil" but rather a co-conspirator type character can be easily interpreted from many of his physical actions throughout the novel. In particular cases, Woland's main goal is to prove the existence of the outer realm, and even though he criticizes Berlioz for proclaiming that God does not exist at the beginning of the novel, readers can witness a symbolic parallel incident: his magic show. For example, in George Bengalsky's introduction about his magic, he tells the audience: "Well, as I was saying, you are about to see a very famous artist from abroad, M'sieur Woland , with a session of black magic. Of course we know, don't we…' Bengalsky smiled confidently, 'that such a thing really doesn't exist. It's all superstition - or rather Maestro Woland, a past master in the art of conjuring, as you will see in the most interesting part of his act in which he reveals the mysteries of his technique" (Bulgakov "Magic black revealed") These lines contain enormous Gnostic symbolism which reinforces this type of reading of Woland. First, Bengalsky's statement that Woland is a "foreign" professor is precisely what theGnostic Woland: a visitor to the spiritual realm. Furthermore, it is significant that, as Bengalsky so insistently insists, just as Berlioz mentions Christ in the first pages, that Woland's magic simply does not exist and that Woland will in fact reveal the mysteries of 'a deception technique. However, Woland uses his magic act to do the opposite, refusing to show the "technique" of his technique and instead performing overly realistic acts, physically decapitating a man and refusing to explain the "trick" to the audience. Woland's entire magical act can be seen as a microcosm of his purpose for being on Earth. Just like the magical act, Woland does not seek to harm the people (even Bengalsky gets his head back); it exists simply to shed "light" on the existence of the realm beyond. If his "black magic" is indeed real, then, implicitly, his counterpart is just as valid and legitimate. In a Gnostic world, Yeshua is indeed the savior who directly opposes Woland, because he represents the spiritual realm. and provides knowledge of its divine quality of salvation. Yet he is a savior in a different form: it is he who provides a path to obtain this spiritual knowledge and thus “unveils” the eyes in darkness; his presence alone in the world does not make him a savior himself. This fact is represented symbolically: the Master's text itself is void without readers having a way to search for the information it contains. As readers can see, Yeshua's mere presence is not enough to achieve salvation. For example, Levi Matvei, a devoted disciple of Yeshua, constantly writes down Yeshua's words, but when Pilate asks to see the scroll, Levi cannot understand the words written on it. It is Pilate himself who needs to be “awakened” by the words of Yeshua – Yeshua himself, as evidenced by Pilate's original role in his crucifixion, is not sufficient to grant salvation. The fact that Yeshua is not easily recognized and interpreted on Earth is also a testimony to this uniquely Gnostic “mysterious savior.” As Bulgakov writes as Yeshua climbs the hill to his crucifixion through the crowd: “There was a man, but few people could see him” (Bulgakov “The Last Adventure of Koroviev and Behemoth”). Again, this draws attention not to Jesus the man, who is irrelevant in the grand Gnostic scheme, but to the knowledge of the afterlife that he brings to those who are receptive to the message . The fact that Levi transcribes nonsense when he attempts to write down Yeshua's words and the fact that few people can actually see Yeshua fits perfectly with the definition of savior according to the Gnostic Secret Book of John. John says: "There's no way to say, 'How good is it?' or “How much is it?” because no one can know him. He is not someone among other beings, rather he is far superior” (Ehrman 147). Although Bulgakov's description above describes the physically crowded conditions of the scene, these lines can again be interpreted through alternative meanings, especially when readers know that this unrecognizable Gnostic savior is so typical of the sect. “The supernatural domain, for Bulgakov, goes beyond the exhaustive knowledge of man; man can only approach it through metaphors, analogies, symbols…” (Wright 1063) adds Wright. This notion helps explain why so few people can understand what seem to be ridiculous elements of the novel's plot, and also why these characters, particularly their words, have such symbolic rather than literal meaning. Although Yeshua cameshow the existence of the spiritual realm to people in darkness, but, like Pilate, people must use these words to "liberate" themselves from darkness. Following the argument that Woland and Yeshua are Gnostic symbols for light and darkness. , Woland and Yeshua can no longer be seen simply as "God against the devil", but rather as opposing but equal forces. Thus, Woland's very existence is yet another example of the existence of the spiritual realm: he proves through his darkness that there is an opposing force in Yeshua. He may be the “devil,” but he certainly doesn’t set out to disprove the existence of God; rather, he reaffirms it. This argument is expressed most poignantly in Woland's own words as he debates the existence of God with Berlioz. ''It's not a question of attitude,'' replied the strange professor. “He existed, that’s all. » “But you have to have proof. …' Berlioz began. 'There is no need for proof,' replied the professor' (Bulgakov “Never talk to strangers”). In no other scene is Woland's mission so explicitly stated. He is more concerned with providing a “shadow” to the divine light, rather than contorting it. Wright's article again agrees with Woland's positioning as a figure in Gnostic argumentation and that Woland's presence is crucial for the recognition of the spiritual realm. He states: "Essentially, man seeks liberation from the tyranny of knowledge only of good, a process which leads to Gnosticim and the worship of an evil power as liberation from such tyranny... Once l man is free to know good and evil, the concept of the devil seems destined to expand to meet man's desire to acquire such knowledge: one cannot escape logic in this process, nor in popular tradition nor in The Master and Marguerite. (Wright 1165). According to this interpretation, the “devil” is not simply an enemy of God; rather, it helps to show that God is indeed present. As Woland said, how can we know one without the other? As God is absent in the physical realm of Gnosticism, Woland, along with Yeshua, must be agents and representations of the spiritual realm beyond. Therefore, “any view that denies the ontological reality of the supernatural is therefore pathetically inadequate to explain the reality of the human condition.” And even the devil himself will tell readers (online article). This definition, then, is Woland's primary function: a function that serves a far nobler purpose than simply being an evil deceiver. To also show this “opposite and equal” dualistic depiction of Woland and Yeshua, consider the examples in which Woland and Yeshua appear to contain an equal amount of knowledge – knowledge that the other characters cannot contain or grasp. The many lines in which characters are asked to explain events, responding with "The devil only knows", although this is a popular figure of speech, are ironic and actually quite literal. These reactions, which always occur in Woland's presence, occur repeatedly throughout the novel, more than ten times. This continued assertion that the devil “knows” shows that, like Yeshua, Woland also possesses omniscient knowledge. When Berlioz is hit by a train early in the novel, for example, Woland shouts: "Shall I send a telegram immediately to your uncle in kyiv?" shocking Berlioz, who does not understand how Woland had this knowledge of his family members. Although a small event compared to later events in the novel, thisscene shows his character's supernatural clairvoyance. Although Woland is in the evil and "ignorant" physical world, he still knows more than the characters in it. Viewing Yeshua and Woland as mere characters on separate poles calls for deeper reasoning. It can be inferred that Woland's depiction of darkness also puts him much more in touch with the physical realm throughout the novel, since, as the Gnostics posit, the entire world is in fact in darkness. Woland's dual connection with the spiritual and physical realms can be read in a description of him. “His right eye, with a golden sparkle at the bottom, piercing anyone who looked to it to the depths of their soul; and the left, empty and black like the narrow eye of a needle” (Bulgakov “The Master is Freed”). These lines are a perfect representation of Woland, not as evil or even below the "good" character of Yeshua, but as a necessary object for understanding what, as he said earlier, is. the good. Woland is both in darkness (or physical reality) but possesses the illuminating truth of the spiritual realm that Yeshua possesses. On the other hand, Yeshua's function in the novel must be to provide the "light" that Woland objects to. Pilate's final words in the novel also illuminate a major Gnostic characterization of Jesus. Throughout the Master's novel, readers witness Pilate's internal struggle regarding how he should deal with Yeshua and the consequences of his crucifixion. Readers can clearly see that Pilate was haunted by his decision to kill the man who, as Pilate begins to realize, may not even have been a man after all. Pilate constantly declares: “Even at night, in the moonlight, I have no rest” (Bulgakov “The Master is Freed”). indicating that even in the darkness of the physical world, Pilate is not, in done, ignorant. He was awakened by Yeshua's message in the Master's text. Furthermore, almost simultaneously with the time that Pilate is declared to have acquired the light and the knowledge that comes from it, he utters a statement that is truly Gnostic in its roots regarding the execution of Yeshua. The Gnostics have a truly unique definition of the death of Jesus. While traditional Catholics state that Jesus' death on the cross was truly the act of a dying man, Gnostics rightly separate the man Jesus from the "divine spirit" of Christ. So, according to this view, while spectators at the crucifixion physically saw Jesus the man die, Christ, the true spirit, did not and was instead released home into the spiritual realm. Therefore, crucifixion is often seen as a "sleight of hand": there is no bodily death or subsequent resurrection; there is a clear separation between body and soul. Pilate's final recognition of Yeshua's true knowledge is perhaps one of the most compelling elements of The Master and Margarita that one can make in a Gnostic argument. As Pilate set out on this path of light, he walked with Banga and the wandering philosopher at his side. …They completely disagreed, which made their argument even more compelling and drawn-out. The execution, of course, had been a complete misunderstanding: after all, this same man, with his ridiculous philosophy that all men were good, was walking right next to him – therefore he was alive. In fact, the very idea of ​​executing such a man was absurd. There was no execution! This never happened! This thought comforted him as he walked along the moonlit path (Bulgakov 278). Pilate's statement shows hisknowledge of Yeshua's true purpose. Yeshua, the person, is irrelevant to Pilate's knowledge of the divine realm and, literally, Yeshua led Pilate down the "path of light." Pilate's "restless" spark could now be released. Through Yeshua, he was able to fulfill every Gnostic's goal of leaving the physical world and reuniting with the light. The words of the Master: “you are free!” He's waiting for you! not only completing the book, but also completing Pilate's own journey down the moonlit path to the light of the divine, a path Pilate had attempted to travel since the death of Yeshua. Conversely, Woland asks the crucial question of why the Master should not also “go into the light” as Pilate had done. Unlike Pilate's awakening to the existence of the spiritual realm, the Master is said to have "gained not light, only peace." This concept once again illustrates that divine knowledge of the light of the spiritual realm is not something that simply exists, it is something that not all people obtain by simply remaining, as Master has fact, completely in the “darkness” of the physical universe. . The Master's close relationship with Woland shows that he was not completely "awakened" from the darkness and therefore did not "gain" the light. Woland operates here to tear the physical realm away from their illusion. His evil actions do not serve to deceive or victimize, but exist to show the existence of the opposite. The Master ultimately fails; he only sees Woland's world. As Gnosticism teaches, access to the realm of light is man's ultimate aspiration – but it must be acquired, and to achieve it requires great effort in life. As evidenced by his attempt to burn his text of knowledge, the Master failed because he gave up. So far, Bulgakov's text provides significant clues for a Gnostic reading of the characters of Woland and Yeshua; However, the most powerful character in the novel which almost certainly gives it a Gnostic translation is that of Marguerite. One of the most striking figures of Gnosticism, and almost exclusively specific to this sect, is the figure of Mary Magdalene. Gnostics believe that it was Mary to whom Jesus revealed his "hidden" teachings, because she was the most prominent woman in the Jesus ministry movement: the keeper of a great amount of divine knowledge. This parallel is overwhelming in Bulgakov's novel. Since the heart of the novel's "teachings" lies in the text of the Master's book, it is no coincidence that Marguerite, the woman who saved the Master's burned book, is also the "keeper" of Yeshua's divine teachings. . So, just as Yeshua and Woland are necessary for knowledge of the spiritual realm to enter the world of Moscow, a vessel for receiving such privileged information must also exist: Maragarita is the only person besides Woland who has access to the text of the Master. On a physical level, the very relationship between the Master and Marguerite and between Jesus and Mary Magdalene is quite similar. Although the historical Mary Magdalene was falsely characterized as a prostitute, Jesus of Nazareth encountered the woman by cleansing her of her sins, even though she came to him as a despised member of society. The Master's own description of his first meeting with Margarita is quite evocative, as he also refers to Margarita's own isolation by stating: "She wore some of those loathsome yellow flowers. … She looked suffering and I was struck less by her beauty than by the extraordinary solitude of her eyes” (Bulgakov “Enter the Hero”). Whilethe Master continues his story of how he and Marguerite fell in love, the parallels with Mary Magdalene are once again quite significant. Although there is little basis for the theory that Jesus of Nazareth was actually married to Mary Magdalene, the Gnostic gospels referred to her as Jesus' "companion" and "favorite apostle" and even alleged that Jesus had kissed Mary on the mouth. This unique relationship is characterized in the Gospel of Philip: He loved her more than all the disciples and often kissed her on the mouth. The rest of the disciples [...]. They said to him, “Why do you love him more than all of us? The Savior answered them: “Why do I not love you like her? When a blind man and a seeing man are both together in darkness, they are no different from each other. When light comes, then he who sees will see the light, and he who is blind will remain in darkness” (Ehrman 187). The Gospel of Philip highlights not only the physical relationship between Jesus and Mary, but also Mary's role in transmitting the secret knowledge that the Gnostic gospels have. Although the Master is not a savior, but simply a "carrier » of the gnosis brought via Yeshua through his novel, it is still appropriate that Marguerite draws parallels with Mary Magdalene in this relationship. The Gnostics do not care about Jesus, only him. of the knowledge it transmits. Likewise, the Master and Margarita are agents in the transmission of this knowledge in Bulgakov's novel. This argument, which makes Mary Magdalene and Margaret "vessels" of gnosis, is also reinforced by lines from her own gospel (also never published in the canon and considered heretical by the Church) which specifically state that she held information that no other apostle had access to. According to the Gospel of Mary, tell us the words of the Savior which you remember and know, but we do not know them and have not heard them. Mary answered and said: What is hidden from you, I will tell you. And she began to speak these words unto them: I, said she, have seen the Lord in a vision, and said unto him, Lord, I have seen thee this day in a vision. He answered and said to me: You are happy that you did not hesitate at the sight of me. For where the spirit is, there is the treasure (Ehrman 284). Although most of Mary's Gospel has been lost, it is significant that Jesus actually proclaimed to Mary information hidden from others, and that Mary, through her own Gospel and contact with the apostles, was the agent of dissemination of these truths. In The Master and Margarita, Marguerite reads the charred remains of the Master's story of Yeshua and Pilate. Alone in the Master's house, she is the only person in the novel who knows and can save this information. In examining these parallels, Wright's essay explains that it is not simply the existence of the manuscript that is relevant, but also knowing what to do with the words it contains. “What is happening today has happened before, an idea remains from generation to generation, no matter by whom it is expressed. The Master's life's work is his novel, which he burns and which is saved largely thanks to Margarita. The “work of life” of Christ is reported (in its essence if not in its details) by Matthu Levi in ​​a parchment… But the manuscripts do not burn. Neither the life work of the Master nor that of Christ is destroyed” (Wright 1169). Therefore, armed with the knowledge contained in the Master's novel, readers can witness Margarita's repeated exposure to the spiritual realm represented by Woland throughout Bulgakov's novel. His unwavering belief inWoland's ability to allow him to enter into contact with this other kingdom is proof of this; However, Margarita's case is complicated. Having both knowledge of Yeshua from the Master's text and knowledge of Woland, Margarita repeatedly decides to work with Woland, albeit for a good cause. The narrator's opening lines describing Margarita reveal his inclination to believe in the spiritual realm as represented physically by Woland and textually through Yeshua in the Master's novel. “Gods, gods! What did this woman need? This woman, in whose eyes always shone a little enigmatic spark? This witch with the slightest one-eyed… I don’t know” (Bulgakov “Margarita”). Bulgakov's insistence that the divine "spark" that was ignited by Margarita, while also calling her a "witch", is proof that Margarita was indeed on the path to gnosis in her fundamental knowledge of the existence of both darkness and light in the Universe. The spiritual realm, which, as the Gnostics claim, is the primary basis for the ultimate choice to follow the path to light. Another example that Margarita is dangerously close to choosing the path to light after experiencing the darkness to which Woland exposes her is again stated symbolically. . While Woland's description earlier used the metaphor of a needle in the brain to categorize the darkness, Margarita experiences the opposite of this in the lines, "the stabbing pain in her temple, which had troubled her all evening …disappeared as if someone had pulled a needle out of his brain” (Bulgakov “Margarita”). As a vessel of gnosis, like Mary Magdalene, Margarita is not as ignorant as her Soviet counterparts: she clearly knows the spiritual, but her deep interactions and dependence on Woland show that Margarita, in order to fulfilling his mission of reunion with the Master and his book may have been forced to reveal it in obscurity. However, with the novel's conclusion, Margarita's goal has been achieved. Like Mary Magdalene, she exclusively safeguarded the Master's script and the knowledge it contained, serving as a link between the two realms – a unique person who had experienced both darkness and light. Yet, perhaps like Mary Magdalene, Marguerite cannot be brought to the light; While Jesus left Mary on Earth armed with his teachings, Marguerite also remained away from the light of the spiritual realm. Container of saving information, itself cannot be directly saved by it. The ending of the novel can be interpreted in different ways. However, there is an interesting change in the fact that Matthew Levi, speaking "of Him", because "[he] is his apostle", works directly in cooperation with Woland. Levi says, "He has read the Master's writings...and asks you to take the Master with you and reward him with peace." » When Woland asks why Levi wouldn't just take the Master with him to the light, he answers. that “He did not deserve light, he deserved rest… He also asks you to take the woman who loved him and who suffered for him” (Bulgakov “The fate of the Master and Margarita is Decided") . Margaret, [and the Master], like Mary Magdalene suffering in her condemnation for spreading the words of Jesus, completed her role in aiding Pilate's eventual gnosis by saving and completing the Master's text but for; To do so, she had to walk through the darkness, once again giving readers an ambiguous interpretation that mixes Margarita's personal journey between darkness and darkness.light, at the end of the novel, Margarita both shouts “The Great Woland!” thanking him for saving her to find the Master and his storyline, while clinging to the life-saving knowledge contained in the Master's book as they are forced to leave their building. Almost at the same time as she praises Woland, Margarita says to the Master: "But the novel, the novel!... take the novel with you wherever you go!" The Master responds. “I remember all this by heart… Don't worry, I will never forget anything again” (Bulgakov “On Sparrow Hill”). Here it seems that both the Master and Margarita are fully aware of the spiritual realm described in the Master's text, but are too closely tied to Woland to choose only one path: their path has been chosen for them. By relying on Woland to find the Master and complete his text, Margarita has, as it were, sacrificed herself to the darkness in order to release the light of the story of Yeshua and Pilate found within it. The explicit refusal of the Master and Margarita to enter the path of spiritual enlightenment occurs in the lines: “Should I follow him [on the path to light]? the Master asks Woland. Woland responds by telling the Master: “No. Why try to continue what has been completed? Woland's words mean that the Master and Margarita are well aware of the saving knowledge of Yeshua present in the Master's text. Even though they were once again aware of the world beyond their own, the Master and Margarita had to remain at Woland's side, remaining in the darkness. Their stay in the dark world of Woland was necessary to achieve Pilate's salvation, but therefore they themselves will not enter the light. However, Woland explains that the Master and Margarita must not return to their physical lives either. As he disappears on his own path or into the darkness, the Master and Marguerite truly receive their peace: a home in which they can be together and alone. This ending of the main characters shows their true purpose: vessels of a mixture of good and evil and the sole holders of the story of a "savior" who can bring others into the light. Like Mary Magdalene, Marguerite suffered with the Master and her romance ultimately saved Pilate. However, neither the Master nor Margarita are Gnostic heroes. They had the tools to be “enlightened” in Yeshua’s story, but ultimately their conscription to Woland places them between light and darkness. “As for their psyche, it has undergone great changes,” says the narrator (Bulgakov “It's Time to Go”). However, readers are never informed what changes these are. The Master and Margarita, knowing perfectly the existence of this external spiritual world, do not have access to the light like Pilate, nor to the dark abyss into which Woland descends. Yet, as the matter in Gnosticism is evil, the Master and Marguerite do not deserve to remain in the darkness of their physical surroundings. Their new home in a land of peace is an appropriate option in the face of the darkness of the abyss, the light of the Savior, or the ignorance of the physical world. As conduits for Yeshua's saving knowledge and Woland's profound interactions with darkness, the Master and Margarita are both dark and light. Keep in mind: this is just a sample. Get a personalized paper now from our expert writers. Get a Custom Essay Fittingly, The Master and Margarita ends on a sort of decrescendo, as the events of the world(s) throughout the book come to a close and readers are left with an ever darkening picture of the night , leaving them there